No other well-known work of art claiming to reflect the idea of freedom seems to withstand a real competition with The Night Watch (click for more).
Friday, October 11, 2019
Posted by David Angsten at 11:54 AM
Thursday, September 19, 2019
Monday, September 9, 2019
"Suffice it to say that what the word “freedom” has generally come to mean for most of us now, when our usage is at its most habitual and unreflective, is libertarian autonomy and spontaneous volition, the negative freedom of the unrestrained or, at least, minimally restrained individual will. It is a concept of freedom not only impoverished, but ultimately incoherent."
~David Bentley Hart
Posted by David Angsten at 11:47 AM
Monday, August 19, 2019
Wednesday, July 24, 2019
Friday, June 14, 2019
Sunday, May 26, 2019
No more thy meaning seek, thine anguish plead,
But leaving straining thought and stammering word,
Across the barren azure pass to God;
Shooting the void in silence, like a bird,
A bird that shuts his wings for better speed.
—Frederick Goddard Tuckerman, from “SONNET XXVIII”
Posted by David Angsten at 4:03 PM
Friday, May 10, 2019
|Marie-Francois Firman-Girard, Autumn Market at Les Halles|
"What does faith mean, finally, at this late date? I often feel that it means no more than, and no less than, faith in life—in the ongoingness of it, the indestructibility, some atom-by-atom intelligence that is and isn’t us, some day-by-day and death-by-death persistence insisting on a more-than-human hope, some tender and terrible energy that is, for those with the eyes to see it, love."
~Christian Wiman, My Bright Abyss
Posted by David Angsten at 4:47 PM
Monday, May 6, 2019
|Rembrandt’s 1659 rendering of Moses with the Ten Commandments|
"Good fiction does not create phenomena; it describes them. Like all art, fiction is a language for communicating a type of reality that can’t be communicated in any other way: the interplay of human consciousness with itself and the world. That experience can be delusional, as when we hear voices, mistake infatuation for love, or convince ourselves that slavery is moral. But the very fact that it can be delusional points to the fact that it can be healthy and accurate as well. When it is healthy, the “common imagination of human beings” can be regarded as an organ of perception, like the eye. Fiction merely describes the world of morality and meaning that that organ perceives."
~Andrew Klavan, "CAN WE BELIEVE?"
Posted by David Angsten at 4:39 PM
Sunday, April 28, 2019
Stanley Kubrick: “The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film.
"They choose this room, which is a very inaccurate replica of French architecture — deliberately so, inaccurate — because one was suggesting that they had some idea of something that he might think was pretty, but wasn’t quite sure. Just as we’re not quite sure what do in zoos with animals to try to give them what we think is their natural environment.
"Anyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made into some sort of Superrman.
Posted by David Angsten at 5:19 PM
Thursday, April 4, 2019
|Theodor Kettelsen, 1900|
"Faith is nothing more—but how much this is—than a motion of the soul toward God. It is not belief. Belief has objects—Christ was resurrected, God created the earth—faith does not. Even the motion of faith is mysterious and inexplicable: I say the soul moves “toward” God, but that is only the limitation of language. It may be God who moves, the soul that opens for him. Faith is faith in the soul. Faith is the word “faith” decaying into pure meaning."
Posted by David Angsten at 4:40 PM
Thursday, March 28, 2019
Wednesday, March 6, 2019
David Hockney on Van Gogh and Rembrandt:
"Being in the south of France obviously gave Vincent an enormous joy, which visibly comes out in the paintings. That’s what people feel when they look at them. They are so incredibly direct. I remember in some of his letters Vincent saying that he was aware he saw more clearly than other people. It was an intense vision… [H]e must have been doing some very concentrated looking. My God! After working for a long time, I get very tired eyes. I just have to close them…
"Photographs of those fields around Arles that Van Gogh painted wouldn’t interest us much. It’s a rather boring, flat landscape. Vincent makes us see a great deal more than the camera could. With a lot of his work, most people who actually saw the subject would think it was incredibly uninteresting. If you’d locked Van Gogh in the dullest motel room in America for a week, with some paints and canvases, he’d have come out with astonishing paintings and drawings of a rundown bathroom or a frayed carton. Somehow he’d be able to make something of it. I think Van Gogh could draw anything and make it enthralling…
"Those early drawings of the peasants are incredibly good, technically. You really feel volume, get a sense of the body and the texture of the fabric of the clothes they are wearing — and yet they transcend that, because the empathy is so strong. But technically they are as good as any drawing you’ll ever see. Rembrandt could do that too. You feel whether the clothes his figures are wearing are ragged or a refined cloth, even if he has just used six lines.
"With a truly great draughtsman, there is no formula. Each image is something new … You never get a repeat of a face in Rembrandt or Van Gogh; there’s always something of the individual character.
"With Rembrandt you never get a generic face, the eyes are always amazing. In a slight elongation of mark — just a little line and a blob — a set of eyes becomes old and tired. You can tell just where they are looking. Every face is different, just as it is in reality. He was wonderful at old men. There was incredible empathy. To me, the drawings are the greatest Rembrandt; the paintings are wonderful, but these are unique.
"That’s what we’d see in real life if we were looking. We’d notice straight away the old hands, the sad face. That’s why Rembrandt’s so human. Anybody who’s ever drawn very quickly sees how wonderful Rembrandt’s drawings are; the economy of means takes your breath away. The hands, for example, can be quite crude, but in another way you totally get them. He can draw old hands in a couple of lines. Often you can tell that a certain line must have been done very fast. You can see the speed."
Posted by David Angsten at 3:29 PM
Wednesday, February 27, 2019
At the alder-darkened brink
Where the stream slows to a lucid jet
I lean to the water, dinting its top with sweat,
And see, before I can drink,
A startled inchling trout
Of spotted near-transparency,
Trawling a shadow solider than he.
He swerves now, darting out
To where, in a flicked slew
Of sparks and glittering silt, he weaves
Through stream-bed rocks, disturbing foundered leaves,
And butts then out of view
Beneath a sliding glass
Crazed by the skimming of a brace
Of burnished dragon-flies across its face,
In which deep cloudlets pass
And a white precipice
Of mirrored birch-trees plunges down
Toward where the azures of the zenith drown.
How shall I drink all this?
Joy’s trick is to supply
Dry lips with what can cool and slake,
Leaving them dumbstruck also with an ache
Nothing can satisfy.
Tuesday, February 5, 2019
|Burgundian miniature, ca 1460|
"Medieval man thought that truth had been revealed to him, so that he was spared from its wild pursuit; the reckless energy that we give to seeking it was turned in those days to the creation of beauty; and amid poverty, epidemics, famines, and wars men found time and spirit to make beautiful a thousand varieties of objects, from initials to cathedrals... we thank a million forgotten men for redeeming the blood of history with the sacrament of art."
~WIll Durant, The Age of Faith
Posted by David Angsten at 3:57 PM
Monday, February 4, 2019
Incurable and unbelievingin any truth but the truth of grieving,I saw a tree inside a treerise kaleidoscopicallyas if the leaves had livelier ghosts.I pressed my face as closeto the pane as I could getto watch that fitful, fluent spiritthat seemed a single being undefinedor countless beings of one mindhaul its strange cohesionbeyond the limits of my visionover the house heavenwards.Of course I knew those leaves were birds.Of course that old tree stoodexactly as it had and would(but why should it seem fuller now?)and though a man’s mind might endoweven a tree with some excessof life to which a man seems witness,that life is not the life of men.And that is where the joy came in.
Posted by David Angsten at 2:32 PM
Sunday, January 20, 2019
"Lord, I can approach you only by means of my consciousness, but consciousness can only approach you as an object, which you are not. I have no hope of experiencing you as I experience the world—directly, immediately—yet I want nothing more. Indeed, so great is my hunger for you—or is this evidence of your hunger for me?—that I seem to see you in the black flower mourners make beside a grave I do not know, in the embers’ innards like a shining hive, in the bare abundance of a winter tree whose every limb is lit and fraught with snow. Lord, Lord, how bright the abyss inside that “seem.”"
"My Bright Abyss: Meditation of a Modern Believer"